One of the fastest-growing careers in pop at the moment
is teenager Britney Spears. Not in the same league at Shelby Starner, though
similar in age, I suspect her aspirations are also totally different. We are
not considering 'deep and meaningful' when discussing "Baby One More
Time" (the album) and volume of sales is as good a measure as any.

The description 'fluff' has been used in a sort of
non-PC way to describe the pop genre which has Britney at its heart. This
seems to me to be unnecessarily harsh for a young woman who has worked hard at
getting where she is. Britney has a pleasant voice and none of the songs
stretch her vocal range unduly. Neither is there a huge amount of emotion or
feeling in these tracks. The balads amongst this collection, "From The
Bottom Of My Broken Heart" and "E-mail My Heart" are actually
just slow songs rather than a vehicle for some expression. In some ways we
should be grateful for the fact because it saves us from yet another 'wailing
diva' to contend with. But the strange stress on the word 'E-mail' does
illustrate a rather forced marriage of lyric to melody as if the album needed
a balad, and trendy techno just must be good.

On the positive side, the sound quality is crystal
clear. Full marks to the production team for this. It suggests a manufactured
product, using whichever singer was available, though that may be reading too
much into the A&R/production process.

All the songs are light and easy to listen to. Nothing
to annoy, nothing to get too excited about. Plenty of clear beat to get in the
mood for dancing to. After about 3 continuous playings through of the album I
had had enough and needed a break as I was getting a little bored. Question:
had I fallen into the trap of listening out for 'deep and meaningful'?

For reference, full track-listing:

1. Baby One More Time

2. (You Drive Me) Crazy

3. Sometimes

4. Soda Pop

5. Born To Make You Happy

6. From The Bottom Of My Broken Heart

7. I Will Be There

8. I Will Still Love You

9. Thinkin' About You

10. E-mail My Heart

11. The Beat Goes On

- GV -

"Ghetto
Hymns"

Dave
Hollister

Dreamworks; DRM3P-5167

Performance:

Audio:

Having mentioned to a friend how much I liked the music
of Connor Reeves, he straight away suggested I try some Dave Hollister. Some
of this may have been to 'educate' me (which I welcome) but I will freely
admit that I can see the similarities. At its best, "Ghetto Hymns"
has some of that quality I was promised and the education comes in stretching
me in a direction which is rather more extreme than I am used to. The music is
rather soulful. There is some rap but it is there to communicate. It is cheeky
and suggestive but it made me smile. The swearing on track 5 is no more than
would be included in many a conversation carrying the annoyance being
expressed. The sense of frustration hangs there - it's a mood thing.

"Can't Stay" is the highlight of the album.
Surely the level of vocal accomplishment that today's 'boy bands' must aim at.
Here its zenith, fully developed. All the harmonies are there, the strings
showing the sensitivity in the message coming straight from the heart.
"Ghetto Hymns" is subtitled "A Story of Ghetto Love &
Life", which softens the subtext of that stark title, and rightly so.
Concentrate on the word 'love' and you can tell that this is not an album of
harsh, attacking, soul 'n' rap, it is much more mainstream and deserves to be
placed before a wider audience than many ghetto-centric offerings. Thanks,
pal.

For reference, complete track listing:

1. Ghetto Hymns (The Introduction)

2. Came To The Door Pimpin'

3. My Favorite Girl

4. Round & Round

5. Baby Mama Drama

6. Cheaterlude (Interlude)

7. Can't Stay

8. Bring It To Dave (Interlude)

9. Call On Me

10. Missin' You

11. Keep Forgettin'

12. Come Inside My Room (Interlude)

13. The Program

14. My Feelin's

15. Respect To Him

- GV -

"Sultans
of Swing"

Dire
Straits

Vertigo; 538-003-2

Performance:

Audio:

Once in a while a band emerges 'fully-formed' but more
commonly there is a steady development over a number of releases. Queen were
clearly amongst the first camp - Dire Straits were another. From their first
hit "Sultans Of Swing" it was apparent that we were witness to a
formidable guitar-playing and songwriting talent that is Mark Knopfler. Reason
enough to label this 'best of' selection in the way chosen. Most of the hits
are here, "Skateaway" and "The Bug" being the exceptions
and they are taken, by and large, in chronological order. Rather unimaginative
as a compilation strategy but the flow works well enough. The live tracks
included: 7, 15 and 16, have a fresh sound and demonstrate the band's
capabilities are not limited to studio sessions.

Mark's songwriting has depth and sensitivity in all
departments, as well as giving plenty of opportunities for displaying that
legendary guitar virtuosity. I guess it shows the impact of the lyrics that I
had to write these lines in silence after listening to the album. His words
just got in the way of mine, such as that recurring phrase about crying after
love in the song "Romeo And Juliet" and 'the dice was loaded from
the start'. Words and music which require more attention than simply playing
in the background.

The 'Straits' were already enormous when the album
"Brothers In Arms" appeared and so it is well represented on the
current disc. It may be apocryphal, but it has been reported that at one time
there were more CDs of "Brothers In Arms" sold than CD players
existed in the world. Not a bad reputation to have in the mid 1980s when this
'new' medium was just getting established. Many fans will have most of the
tracks on this album but it is still an involving experience to take the hits
as they happened. If you don't have these tracks - well, you can guess my
advice can't you?